Discovery BoxThe Song of Songs 1:13
Context1:13 My beloved is like a fragrant pouch of myrrh 1
spending the night 2 between my breasts.
The Song of Songs 1:16
ContextThe Beloved to Her Lover:
1:16 Oh, how handsome you are, my lover! 3
Oh, 4 how delightful 5 you are!
The lush foliage 6 is our canopied bed; 7
The Song of Songs 2:8
ContextThe Beloved about Her Lover:
2:8 Listen! 8 My lover is approaching! 9
Look! 10 Here he comes,
leaping over the mountains,
bounding over the hills!
The Song of Songs 2:16
ContextThe Beloved about Her Lover:
2:16 My lover is mine and I am his;
he grazes among the lilies. 11
The Song of Songs 4:4
Context4:4 Your neck is like the tower 12 of David
built with courses of stones; 13
one thousand shields are hung on it –
all shields of valiant warriors. 14
The Song of Songs 4:12
ContextThe Lover to His Beloved:
4:12 You are a locked garden, 15 my sister, my bride;
you are an enclosed spring, a sealed-up fountain.
The Song of Songs 5:4
Context5:4 My lover thrust his hand 16 through 17 the hole, 18
and my feelings 19 were stirred 20 for him.
The Song of Songs 6:12
Context6:12 21 I was beside myself with joy! 22
There please give me your myrrh, 23
O daughter of my princely people. 24
The Song of Songs 7:11
ContextThe Beloved to Her Lover:
7:11 Come, my beloved, let us go to the countryside;
let us spend the night in the villages.
The Song of Songs 8:13
ContextThe Lover to His Beloved:
8:13 O you who stay in the gardens,
my companions are listening attentively 25 for your voice;
[1:13] 1 sn The term מֹר (mor, “myrrh”) refers to an aromatic gum (Commiphora abessinica resin) which exudes from the bark of the Balsmodendron myrrha tree which was native only to Arabia, Abyssinia, and India (HALOT 629 s.v. מֹר). It was an expensive luxury item, which had to be imported into Israel. In liquid form it could be carried in small bottles like nard, but it was also used in solid form in which it was carried in a small cloth pouch or sachet worn next to the body. The myrrh was mixed with fat and shaped into cones and as the fat melted from the body heat, the aroma of myrrh and the anointing oil would perfume a woman’s body. Because it had a very strong aroma which would last for long periods of time, women often wore it to bed to perfume themselves for the next day. Because of its beautiful fragrance, it is associated with romance (e.g., Isa 3:24) (R. K. Harrison, Healing Herbs of the Bible, 45-46).
[1:13] 2 tn Alternately, “resting between my breasts.” The verb לִין (lin) has a three-fold range of meaning in the Qal stem: (1) “to leave overnight,” e.g., meat or corpse on a tree, (2) “to spend the night, stay overnight,” and (3) “to stay, dwell” (HALOT 529 s.v. לין). The myrrh motif (see study note above) suggests the nuance “to spend the night” (HALOT 529 s.v. 2). This is also the most appropriate nuance of its usage in Song 7:12 (e.g., Gen 19:2; 24:23, 25, 54; 28:11; 31:54; 32:14, 22; Num 22:8; Josh 3:1; 4:3; 6:11; 8:9; Judg 18:2; 19:4-15 (9x), 20; 20:4; 2 Sam 12:16; 17:8, 16; 19:8; 1 Kgs 19:9; Isa 21:13; 65:4; Jer 14:8; Joel 1:13; Zeph 2:14; Pss 25:13; 55:8; Job 24:7; 31:32; 39:9; Prov 19:23; Song 7:12; Ruth 1:16; 3:13; Neh 4:16; 13:20; 1 Chr 9:27). Several translations follow course: “he shall lie all night betwixt my breasts” (KJV) and “which lies all night between my breasts” (NASB). Others downplay the obvious sexual connotations: “resting between my breasts” (NIV) and “lodged between my breasts” (NJPS). The imperfect has been taken in two basic senses: (1) future time action: “he shall spend the night between my breasts” and (2) present characteristic or present progressive: “he spends the night between my breasts.” The latter is favored by the characteristic/progressive nature of the metaphors used through 1:12-13[13-14].
[1:16] 3 sn The statement הִנָּךְ יָפָה רַעְיָתִי (hinnakh yafah ra’yati, “How beautiful you are, my darling”) in 1:15 is virtually mirrored by the Beloved’s statement in 1:16, הִנְּךְ יָפֶה דוֹדִי (hinnÿkh yafeh dodi, “How handsome you are, my lover”).
[1:16] 4 tn The term אַף (’af, “how”) is used to: (1) introduce additional information; (2) to emphasize a point; (3) to enhance a statement; (4) to create an antithesis (HALOT 76 s.v. אַף). The usage here is to enhance “how pleasant” or “certainly pleasant” (HALOT 76). The particle אַף is often used in Hebrew poetry to emphatically introduce a thought in the second colon which is a step beyond what was asserted in the first colon (e.g., Deut 33:3, 20, 28; 1 Sam 2:7; Pss 16:6, 7, 9; 18:49; 65:14; 68:9, 17; 74:16; 89:28; 93:1; Prov 22:19; 23:28) (BDB 64 s.v. b.1). Sometimes, אַף is used to introduce a surprise or something unexpected (e.g., Job 14:3; 15:4) (BDB 65 s.v. a.1). The particle אַף (“Oh!”), which introduces this line, is often used in Hebrew poetry to emphatically introduce a new thought and indicates that this is an addition to the previous statement; it is something far greater.
[1:16] 5 tn The term נָעִים (na’im, “pleasant, delightful”) can refer to physical attractiveness or to personal character (BDB 653 I נָעֵם; HALOT 705 s.v. I נעם). Some suggest that it refers to the pleasantness of his character and personality; however, it is better to take this as a reference to his handsome physical appearance for several reasons: (1) The terms יָפֶה (yafeh, “handsome”) and נָעִים (“delightful”) are probably used in synonymous rather than synthetic parallelism. (2) The emphasis in 1:15-16 is on physical beauty as the repetition of the term “beautiful, handsome” (יָפֶה) suggests. (3) The related verb נָּעַמְתְּ (na’amtÿ, “to be delightful”) is used in Song 7:7 in synonymous parallelism with יָפָת (yafat, “to be beautiful”) in the description of the Beloved’s physical beauty. (4) Hebrew lexicographers classify this usage of נָעִים in Song 1:16 in terms of physical beauty rather than personal character (BDB 653 s.v. 2).
[1:16] 6 tn The term רַעֲנָנָה (ra’ananah, “lush, verdant”) refers to the color “green” and is often used in reference to luxuriant foliage or trees (Pss 37:35; 52:8; Jer 11:16; Hos 14:8). The impression 1:16c-17 gives is that the young man and young woman are lying down together on the grass in the woods enjoying the delights of their caresses. They liken the grass below and the green leaves above to a marriage couch or canopied bed.
[1:16] 7 tn Or “The lush foliage is our marriage couch.” The term עֶרֶשׂ (’eres, “bed”) describes a canopied bed (Pss 6:7; 41:4; 132:2; Prov 7:16) or marriage couch (Song 1:16) (BDB 793 s.v. עֶרֶשׂ).
[2:8] 5 tn Heb “The voice of my beloved!” The exclamation קוֹל (qol, “Listen!”) is an introductory exclamatory particle used to emphasize excitement and the element of surprise.
[2:8] 6 tn The phrase “is approaching” does not appear in Hebrew but is supplied in the translation for the sake of clarity.
[2:8] 7 tn The exclamation הִנֵּה־זֶה (hinneh-zeh, “Look!”) is used of excited speech when someone is seen approaching (Isa 21:9).
[2:16] 7 sn This line may be translated either as “the one who grazes among the lilies” or as “the one who feeds [his flock] among the lilies.” The latter would picture him as a shepherd pasturing his flock among a bed of flowers which they were eating, while the former would be picturing him as a gazelle feeding among a bed of flowers. Because of the occurrence of the gazelle motif in the following verse, it is most likely that this motif is present in this verse as well. Although it seems likely that he is therefore being pictured as a gazelle eating these flowers, it is far from clear as to what this figurative picture denotes. It is possible that it conveys the peaceful nature of his relationship with her because she was earlier portrayed as a lily (e.g., 2:1).
[4:4] 9 tn The term מִגְּדַל (miggÿdal, “tower”) refers to a military structure, such as a stronghold, arsenal, or defensive tower on the walls of a city (e.g., Judg 8:9, 17; 9:51; 2 Kgs 9:17; 17:9; 18:8; 2 Chr 14:6; 26:15; 27:4; 32:5).
[4:4] 10 tn The feminine noun לְתַלְפִּיּוֹת (lÿtalpiyyot) is a hapax legomenon of uncertain etymology. Various attempts have been made to find the origin of this word, but they are all uncertain. LXX εἰς θαλπιωθ (eis qalpiwq) simply transliterated the word, taking it as a proper name of a locality (Tel Pivoth). Similarly, Dom Calmet treated תלפיות as a compound word (תֵּל, tal, “hill,” and פֵּיוֹת, peyot, “mouths”) as a reference to a tower built by David on a height in the valleys of Lebanon. The Talmud suggests that the term refers to Jerusalem as the hill (תֵּל) to which all mouths (פיות) turn (b.Berakhot 30a). Aquila reads εἰς ἐπάλξεις (eis epalxeis) and Symmachus εἰς ὓψη (eis {uyh), while Vulgate has cum propugnaculis. Ibn Ezra redivided לתלפיות as ל תל פיות “for suspending weapons” by taking פֵּיוֹת (“mouths” = edge of swords) as a reference to weaponry. This is reflected in several translations: “armoury” (KJV, AV, ASV), “arsenal” (RSV), and “fortress” (JB). The noun may be related to the Arabic root tlp (“to perish”) in a metonymical sense: “a cause of perishing,” i.e., a weapon. The Hebrew Piel verb תִּלֵּף (tillef) means “to hang up for display,” thus NEB suggests that it is derived from lpy which means “to arrange in courses,” i.e., “layered,” as a reference to the Bride’s layered necklace she wears. The NIV nuances it as “with elegance” and NEB “winding courses.” Perles connects תַלְפִּיּוֹת to Akkadian tilpanu (“bow”), while Haupt connects the word with the Shaphel stem of the Akkadian
labu (“to fortify”). Honeyman suggests that לְתַלְפִּיּוֹת is a feminine plural noun of the taqtilat nominal pattern from the root לפי which means “to arrange in courses.” HALOT notes that the phrase בָּנוּי לְתַלְפִּיּוֹת (banu lÿtalpiyyot) has been rendered in several ways: (1) “built with turrets,” (2) “built with siege-towers,” (3) “built in rows (of stones)” or “built in terraces.” Haupt and Krauss suggest that לְתַלְפִּיּוֹת בָּנוּי denotes “constructed for siege-towers” or “built for an armory.” Honeyman suggests that תַלְפִּיּוֹת is a feminine plural noun with a standard nominative prefix ת and is derived from the verbal root לפא (“to arrange in stones”). Probably, the best solution is to relate this Hebrew root to Akkadian lapu (“to surround, enclose”), Arabic laffa or lifafah (“to envelope”), and Aramaic lpp and lp’ (“to interlace, entwine, plait”). This is the simplest solution and does not demand emending the text. The preposition לְ (lÿ) could denote “in respect to” and the colon בָּנוּי לְתַלְפִּיּוֹת could be translated “built in rows (of stones)” or “built in terraces.” Thus, the phrase “built in rows of stones” refers to the outer walls of a tower built in spiraling rows of stones or built in terraces. This is a comparison of sight: (1) her neck was long and symmetrical or (2) she was wearing a strand of beads or necklaces wrapped around her neck like a tower built in spiraling rows of stones. See P. Haupt, “Heb. talpi’ot, Siege-Towers,” JBL 38 (1919): 186-88; S. Krauss, “The Archaeological Background of Some Passages in the Song of Songs,” JQR 32 (1941-42): 125-29; A. M. Honeyman, “Two Contributions to Canaanite Toponymy,” JTS 50 (1949): 51; B. S. J. Isserlin, “Song of Songs IV, 4: An Archaeological Note,” PEQ 90 (1958): 59-61; K. Crim, “‘Your Neck is Like the Tower of David’ (The Meaning of a Simile in Song of Solomon 4:4),” BT 22:2 (1977): 72-74; E. Klein, Comprehensive Etymological Dictionary of the Hebrew Language, 704.
[4:4] 11 tn Scholars debate whether this refers to (1) the interior walls of a tower upon which warriors would hang their shields when not in use or (2) the external upper wall of a military fortress upon which warriors would hang their shields to add to their protection during battle. A few scholars suggest that what is pictured here are the internal walls of the tower and, on the basis of Ezek 27:10-11, posit that in the ancient world there was a practice in which mercenaries, who had joined themselves to a king, would hang their shields upon his fortress wall as a sign of their allegiance. Following Crim, Deere suggests, “the custom of hanging shields on the tower was symbolic of the warriors’ allegiance to and valor for a particular king.” Crim suggests that the point of comparison of his praise would be something similar to what follows: “Just as the fame of Tyre in Ezek. 27:11 attracted mercenaries, the fame of the tower of David has attracted soldiers to come and enter its service. The shields hanging there show that they have given their allegiance to the tower. Your neck is like that tower. It is so beautiful that it could win the allegiance of a thousand heroic soldiers.” We would then translate something like this: “Your neck attracts men as the tower of David attracts warriors. A thousand heroic soldiers would swear allegiance to your beauty.” J. S. Deere suggests that the point of the comparison is that the bride’s neck was so beautiful and majestic that mighty warriors from near and far would have given their allegiance to her…It is as if he were saying that these soldiers would be willing to surrender their shields to her beauty. On the other hand, most scholars suggest that it refers to the common practice in the ancient Near East of lining the top wall of a military fortress tower with shields, behind which the soldiers could stand for protection leaving both hands free for bow and arrows (Note: It is possible to view Ezek 27:10-11 and 2 Chr 32:5 in this manner). This is supported by ancient Near Eastern art which pictures such a practice, especially by the relief of Sennacherib’s siege of Lachish which shows the top wall of Lachish lined with shields. The Illustrated Family Encyclopedia of the Living Bible, 10:56, notes: “The art of the ancient East often shows us the shields that were, in time of war, set in position on the towers of the city walls, so that defenders could safely fire arrows and hurl stones while standing upright behind them.” Those who see this as the imagery all agree that the point of comparison is to jeweled necklaces with pendants which could be compared to shields, as in 1:10-11 (A. Robert, T. J. Meek, G. Gerlemann, A. M. Honeyman, B. S. J. Isserlin, J. McKenzie). McKenzie expresses this view when he posits that she was wearing jewelry around her neck and that this was being compared to the shields hung around this military tower: “One of the many physical charms that the Beloved finds in his mistress (Song of Sol. 4:1-4) is her long neck which, with its stately poise, reminds him of the lofty tower of David. Just as this tower is hung all round with shields placed there by mighty men of valor, so is his mistress’ neck adorned with chains and strings of jewels. This is supported by the fact that 4:9 explicitly mentions a necklace with a multitude of jewels in it which she was wearing at this time. And Isserlin suggests that the complete image in view fits the evidence of both ancient Near Eastern military towers and jewelry which has been recovered archaeologically: “It seems to the present writer that a reading of the verse…can be taken to refer to the presence not of one, but two elements on the tower: there is the coursed masonry, and on top of it there are the shields. If we keep the idea that a multiple necklace is alluded to, then this should be made up of two kinds of elements: on top there should be a series of beads resembling round shields; below we should find something resembling either the short or the long side of building stones (according to whether the masonry is laid in headers or stretchers). Can necklaces of this type be found in the ancient Near East? It seems to the writer that the well-known sculpture from Arsos in Cyprus (Pl. VI) represents just this type of necklace. The upper beads do look like a row of round shields, as shown on the tower in the relief slab representing Sennacherib’s siege of Lachish, while the lower elements do evoke roughly bossed headers, as found in ancient Palestinian defence works” (B. S. J. Isserlin, The Israelites, 59, and plate VI). Composite necklaces such as this one might be referred to in Prov 1:9. In any case, it is quite unlikely that the point of comparison was that she had a large, muscular neck, as some have suggested (M. Jastrow, L. Waterman, and R. Gordis). See A. M. Honeyman, “Two Contributions to Canaanite Toponymy,” JTS 50 (1949): 51; B. S. J. Isserlin, “Song of Songs IV, 4: An Archaeological Note,” PEQ 90 (1958): 59-61; The Illustrated Family Encyclopedia of the Living Bible, 10:56; K. R. Crim, “Your Neck is Like the Tower of David (The Meaning of a Simile in the Song of Solomon 4:4),” BT 22:2 (April 1977): 70-74.
[4:12] 11 sn The twin themes of the enclosed garden and sealed spring are highlighted by the wordplay (paronomasia) between the Hebrew expressions גַּן נָעוּל (gan na’ul, “a garden locked up”) and גַּל נָעוּל (gal na’ul, “an enclosed spring”).
[5:4] 13 tn Possibly a euphemism (double entendre). The term יָד (yad, “hand”) normally refers simply to the physical hand (HALOT 386 s.v. I יָד 1; BDB 388 s.v. יָד 1). There are, however, at least three occasions when יָד refers to tall stone pillars (translated “monument” or “pillar”), such as those used in Canaanite fertility-cults in the form of phallic representations (1 Sam 15:12; 2 Sam 18:18; Isa 56:5). It is clearly used as a euphemism for the male copulative organ in Isa 57:8, 10. It is now an established fact that yad is sometimes used as a euphemism for the male sexual organ in Ugaritic literature (e.g., text no. 52:33-35) (UT 1072). The noun יָד is also used in the Qumran literature in this sense in a list of penalties for indecent exposure (Manual of Discipline 7:12-15). Thus, several scholars suggest that a subtle double entendre in 5:4-6. The imagery of the man thrusting his “hand” through the “hole” in the door, and the Beloved “opening” to her lover, with her fingers dripped with “myrrh” on the “handles of the lock,” might have a double reference to the literal attempt to gain entry to her bedroom and his desire to make love to her. See M. Delcour, “Two Special Meanings of the Word yd in Biblical Hebrew,” JSS 12 (1967): 230-40.
[5:4] 14 tn Heb “sent his hand through.” Most scholars suggest that it denotes “to send through,” that is, “to thrust through” or “to extend through.” For example, BDB 1018 s.v. שָׁלַח 3.a proposes that מִן + שָׁלַח (shalakh + min) means “to stretch out (his hand) from the outside, inward.” He was attempting to open the door from the outside by extending his hand inside the door through some kind of latch-opening: “he put in his hand by the opening of the door” (KJV), “he extended his hand through the opening” (NASB), “he thrust his hand through the latch-opening” (NIV). Others, however, suggest that the construction.
מִן + שָׁלַח denotes “to withdraw from” (e.g., 1 Kgs 13:4). The preposition מִן is taken to mean, not “through,” but “away from.” Thus, he was withdrawing his hand from the latch-opening, that is, he had given up and was leaving. This approach is adopted by NJPS: “My beloved took his hand off the latch.” His departure is clearly stated in 5:6, “I opened [the door] for my beloved, but my beloved had already turned and gone away; my heart sank at his departure!” (see study notes below on 5:6).
[5:4] 15 tn Heb “hole.” Probably “latch-hole” or “key-hole,” but possibly a euphemism (double entendre). The noun חֹר (khor, “hole”) is used in OT in a literal and metaphorical sense: (1) literal sense: hole bored in the lid of a chest (2 Kgs 12:10); hole in a wall (Ezek 8:7); hole in the ground or cave used as hiding places for men (1 Sam 13:6; 14:11; Isa 42:23); hole in the ground, as the dwelling place of an asp (Isa 11:8); and a hole in a mountain, as the den of lions (Nah 2:13); and (2) figurative sense: hole of an eye (metonymy of association), that is, eye-socket (Zech 14:12) (HALOT 348 s.v. II חֹר; BDB 359 s.v. III חֹר). While the meaning of חֹר in Song 5:4 is clear – “hole” – there is a debate whether it is used in a literal or figurative sense. (1) Literal sense: The lexicons suggest that it denotes “hole of a door, that is, key-hole or latch-opening” (HALOT 348; BDB 359). Most commentators suggest that it refers to a hole bored through the bedroom door to provide access to the latch or lock. The mention in 5:5 of כַּפּוֹת הַמַּנְעוּל (kaffot hamman’ul, “latches of the door-bolt”) suggests that the term refers to some kind of opening associated with the latch of the bedroom door. This approach is followed by most translations: “the hole in the door” (JB), “the latch-hole” (NEB), “the latch-opening” (NIV), “the latch-hole” (NEB), “the latch” (RSV, NJPS), and “the opening of the door” (KJV). The assumption that the hole in question was a latch-hole in the door is reflected in Midrash Rabbah: Rabbi Abba ben Kahana said, “Why is the hole of the door mentioned here, seeing that it is a place where vermin swarm?” The situation envisaged by his actions are often depicted thus: In ancient Near Eastern villages, the bolting systems of doors utilized door-bolts and keys made of wood. The keys were often stored either on the outside (!) or inside of the door. If the key was placed on the inside of the door, a small hole was bored through the door so that a person could reach through the hole with the key to unlock the door. The key was often over a foot in length, and the keyhole large enough for a man’s hand. Apparently, he extended his hand through the hole from the outside to try to unbolt the door latch on the inside. He could put his hand through the hole, but could not open the door without the key. (2) Figurative sense: Because of the presence of several erotic motifs in 5:2-8 and the possibility that a double entendre is present (see notes below), several scholars suggest that the term is a euphemism for the female vagina (HALOT 348). They suggest that חֹר (“hole”) is the female counterpart for the euphemistic usage of יָד (“hand”) in 5:4. See A. S. Cook, The Root of the Thing: A Study of Job and the Song of Songs, 110, 123; Cheryl Exum, “A Literary and Structural Analysis of the Song of Songs,” ZAW 85 (1973): 50-51; M. H. Pope, Song of Songs (AB), 518-19.
[5:4] 16 tn Heb “my inward parts,” “my intestines,” or “my bowels.” Alternately, “my feelings” or “my emotions.” The term מֵעֶה (me’eh) is used of the internal organs in general (“inward parts”) (e.g., 2 Sam 20:10; 2 Chr 21:15, 18; Pss 22:14; 40:9) or the digestive organs in particular (“intestines, bowels, stomach”) (e.g., Num 5:22; Job 20:14; Ezek 3:3; 7:19; Jonah 2:1-2). It is frequently used as a metonymy of adjunct for the emotions which Hebrew psychology associated with these internal organs (see H. W. Wolff, Anthropology of the Old Testament, 63-66). These include pity (Isa 16:11), lamentation (Jer 48:36), distress (Jer 4:19; Lam 1:20; 2:11), and compassion (Isa 63:15; Jer 31:20) (HALOT 610-11 s.v. מֵעֶה 3; BDB 589 s.v. מֵעֶה 5). Most scholars suggest that the Beloved’s feelings of love were revived – a reversal of her feelings of indifference and apathy in 5:3. This is reflected in many translations which use equivalent English idioms: “the core of my being” (JB) and “my heart” (NIV, NJPS) over the woodenly literal “my bowels” (KJV, NEB, AV). On the other hand, the term is also used to refer to the procreative organs, both male (e.g., Gen 15:4; 2 Sam 7:12; 16:11; Isa 48:19; 2 Chr 32:21) and female (e.g., Gen 25:23; Ruth 1:11; Ps 71:6; Isa 49:1). NASB well renders the line, “my feelings were aroused for him” (NASB).
[5:4] 17 tn The exact meaning of this Hebrew verb is uncertain. The exact connotation of the verb הָמוּ (hamu) in 5:4 is debated. The verb הָמָה (hamah, “to murmur, growl, roar, be boisterous”) is related to the noun הָמוֹן (hamon, “sound, murmur, roar, noisy crowd”), הֶמְיָה (hemyah, “sound, music”), and perhaps even הָמֻלָה (hamulah, “noise, noisy crowd, crowd”). The Hebrew root המה is related to Aramaic המא (“to roar; to be agitated”). The Hebrew verb הָמָה has a basic two-fold range of meanings: (1) literal: “to make a noise” of some kind and (2) figurative: “to be in commotion, uproar” (e.g., often associated with noise or a noisy crowd). The lexicons suggest six distinct categories: (1) “to make a noise” or “to be in commotion,” particularly by a tumultuous crowd (1 Kgs 1:41; Pss 39:7; 46:7; Prov 1:21; Is 22:2; Mic 2:12); (2) “to roar,” of the sea and sea-waves (Isa 17:12; 51:15; Jer 5:22; 6:23; 31:35; 50:42; 51:55; Ps 46:4); (3) “to make a sound,” e.g., bear growling (Isa 59:11), dog barking (Ps 59:7, 15), bird chirping (Ps 102:8), dove cooing (Ezek 7:16); (4) “to moan,” (Ps 39:7; 55:18; Prov 1:21; Lam 2:18; Ezek 7:16; Zech 9:15); (5) “to be turbulent, boisterous” (Prov 7:11; 9:13; 20:1; Zech 9:5); and (6) figuratively of the internal organs: “to murmur, be restless, be turbulent,” used in reference to pity (Isa 16:11; Jer 4:19; 31:20; 48:36), discouragement (Ps 42:6, 12; 43:5), and murmuring in prayer (Pss 55:18; 77:4) (HALOT 250 s.v. המה; BDB 242 s.v. הָמָה). HALOT suggests “to be turbulent” for Song 5:4 (HALOT 250 s.v. 4), while BDB suggests “the thrill of deep-felt compassion or sympathy” (BDB 242 s.v. 2). Commentators offer a spectrum of opinions from the Beloved feeling agitation, pity, compassion, sexual arousal, or a revival of her love for him. A survey of the translations reveals the same lack of consensus: “my bowels were moved for him” (KJV), “my bowels stirred within me” (NEB), “my heart was thrilled within me” (RSV), “I trembled to the core of my being” (JB), “my heart trembled within me” (NAB), “my heart was stirred for him” (JPS, NJPS), “my feelings were aroused for him” (NASB), and “my heart began to pound for him” (NIV). While the precise meaning may never be agreed upon, whatever she was feeling she roused herself from her indifferent apathetic inactivity to arise and open for her beloved in 5:5. The phrase is used similarly elsewhere in OT, rousing the subject to irresistible action (Jer 4:19). The simplest course of action is to nuance this term metonymically (cause for effect), e.g., “my feelings were stirred up for him.”
[6:12] 15 tn Most scholars agree that the Hebrew text of 6:12 is the most elusive in the entire Song. The syntax is enigmatic and the textual reading is uncertain. The difficulty of this verse has generated a plethora of different translations: “Or ever I was aware, my soul made me [like] the chariots of Ammi-nadib” (KJV), “Before I knew it, my soul made me like the chariots of Ammi-nadib” (AV), “Before I knew it, my fancy set me in a chariot beside my prince” (AT), “Before I knew…my desire hurled me on the chariots of my people, as their prince” (JB), “Before I knew it, my desire set me mid the chariots of Ammi-nadib” (JPSV), “I did not know myself, she made me feel more than a prince reigning over the myriads of his people” (NEB), “Before I knew it, my heart had made me the blessed one of my kins-women” (NAB), “Before I was aware, my soul set me [over] the chariots of my noble people” (NASB), “Before I realized it, my desire set me among the royal chariots of my people” (NIV), “…among the chariots of Amminadab” (NIV margin), “…among the chariots of the people of the prince” (NIV margin), and “Before I realized it, I was stricken with a terrible homesickness and wanted to be back among my own people” (NLT). For discussion, see R. Gordis, Song of Songs and Lamentations, 95; R. Tournay, “Les Chariots d’Aminadab (Cant. VI 12): Israel, Peuple Theophore,” VT 9 (1959): 288-309; M. H. Pope, Song of Songs (AB), 584-92; R. E. Murphy, “Towards a Commentary on the Song of Songs,” CBQ 39 (1977): 491-92; S. M. Paul, “An Unrecognized Medical Idiom in Canticles 6,12 and Job 9,21,” Bib 59 (1978): 545-47; G. L. Carr, Song of Solomon [TOTC], 151-53.
[6:12] 16 tn Alternately, “Before I realized it, my soul placed me among the chariots of my princely people.” There is debate whether נַפְשִׁי (nafshi, “my soul” = “I”) belongs with the first or second colon. The MT accentuation connects it with the second colon; thus, the first colon introduces indirect discourse: לֹא יָדַעְתִּי (lo’ yada’ti) “I did not know” or “Before I realized it….” According to MT accentuation, the fs noun נַפְשִׁי (“my soul”) is the subject of שָׂמַתְנִי (samatni, Qal perfect 3rd person feminine singular from שִׂים, sim, + 1st person common singular suffix, “to put”): “my soul placed me….” This approach is followed by several translations (KJV, NASB, AV, AT, JB, JPSV, NAB, NIV). On the other hand, the LXX takes נַפְשִׁי (“my soul” = “I”) as the subject of לֹא יָדַעְתִּי and renders the line, “My soul [= I] did not know.” NEB follows suit, taking נַפְשִׁי as the subject of לֹא יָדַעְתִּי and renders the line: “I did not know myself.” R. Gordis and S. M. Paul posit that לֹא יָדַעְתִּי נַפְשִׁי (literally “I did not know myself”) is an idiom describing the emotional state of the speaker, either joy or anguish: “I was beside myself” (e.g., Job 9:21; Prov 19:2). S. Paul notes that the semantic equivalent of this Hebrew phrase is found in the Akkadian expression ramansu la ude (“he did not know himself”) which is a medical idiom describing the loss of composure, lucidity, or partial loss of consciousness. He suggests that the speaker in the Song is beside himself/herself with anguish or joy (S. M. Paul, “An Unrecognized Medical Idiom in Canticles 6,12 and Job 9,21,” Bib 59 [1978]: 545-47; R. Gordis, Song of Songs and Lamentations, 95).
[6:12] 17 tc While MT reads מַרְכְּבוֹת (markÿvot, “chariots”) some medieval Hebrew
[6:12] 18 tc MT vocalizes and divides the text as עַמִּי־נָדִיב (’ammi-nadiv, “my princely people”); however, several other
[8:13] 17 tn The term מַקְשִׁיבִים (maqshivim) is in the Hiphil stem which denotes an intense desire to hear someone’s voice, that is, to eagerly listen for someone’s voice (e.g., Jer 6:17) (HALOT 1151 s.v. קשׁב 1). The participle functions verbally and denotes a continual, ongoing, durative action.
[8:13] 18 tc The editors of BHS suggests that גַם אָנִי (gam ’ani, “me also”) should be inserted. Although there is no textual evidence for the insertion, it seems clear that the 1st person common singular referent is emphatic in MT הַשְׁמִיעִינִי (hashmi’ini, “Let me hear it!”).
[8:13] 19 tn The imperative הַשְׁמִיעִינִי (hashmi’ini) functions as a request. The lover asks his beloved to let him hear her beautiful voice (e.g., Song 2:14).
